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Performer: Roman Trekel

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BerlinDie Zauberflöte (Schinkel)

Mozart: Die Zauberflöte (The Magic Flute)
Thomas Guggeis; August Everding; Staatsoper Berlin; Fred Berndt; Dorothée Uhrmacher; Peter Sonn; Evelin Novak

HamburgCarl-Philipp-Emanuel-Bach-Chor Hamburg / Roman Trekel

Mahler, Alma und Gustav Mahler
Hansjörg Albrecht; Roman Trekel; Carl-Philipp-Emanuel-Bach-Chor Hamburg

BerlinDas Rheingold

Wagner: Das Rheingold
Daniel Barenboim; Guy Cassiers; Staatsoper Berlin; Tim Van Steenbergen; Michael Volle; Roman Trekel


Wagner: Götterdämmerung
Daniel Barenboim; Guy Cassiers; Staatsoper Berlin; Enrico Bagnoli; Tim Van Steenbergen; Andreas Schager; Iréne Theorin

BerlinDer RosenkavalierNew production

Strauss R.: Der Rosenkavalier
Zubin Mehta; André Heller; Staatsoper Berlin; Xenia Hausner; Arthur Arbesser; Camilla Nylund; Nadine Sierra
Latest reviewsSee more...

Compassion and solace in Brahms’ German Requiem

Karl-Heinz Steffens © Susanne Diesner
At Sunday’s Philharmonia Orchestra concert, guest conductor Karl-Heinz Steffens paired the Requiem with the composer’s autumnal Clarinet Quintet.
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Sweet nothings: a disappointing Hänsel und Gretel

Katrin Wundsam (Hänsel) and Elsa Dreisig (Gretel) © Monika Rittershaus
Achim Freyer's production robs Humperdinck's fairy tale of heart and drama at the Lindenoper.
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Disturbing scenes: Staatsoper reopens with a messy Faustian hybrid

Sven-Eric Bechtolf (Mephistopheles), Katharina Kammerloher (Sorge) und Roman Trekel (Faust) © Hermann und Clärchen Baus
Jürgen Flimm's take on Schumann's Faust Scenes offers no solutions to self-imposed problems at the Staatsoper unter den Linden's glitzy reopening.
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Flimm's Hollywood Manon Lescaut is fleet-footed but effective

Anna Nechaeva (Manon) © Matthias Baus
With a light-voiced cast and gentle updating, the Staatsoper's new Manon Lescaut makes a good case for Puccini's difficult breakthrough opera.
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Kupfer’s Fidelio confuses in Berlin

Falk Struckmann (Don Pizarro), Camilla Nylund (Leonore) und Andreas Schager (Florestan) © Bernd Uhlig
Not even the musical genius of Daniel Barenboim could turn Harry Kupfer’s irritating Sitzprobe production into a “Namenlose Freude”.
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